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Change your white balance during a sunrise or sunset. Take your camera off auto white balance and switch to Cloudy or Shady white balance. This will add more strength to the reds, oranges and yellows. Auto White Balance tries to keep colors neutral.

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Carry your camera manual, especially if your camera is new. When traveling you'll probably have a chance to try some new shots. It can also be the time you’re likely to forget the function of a particular button. Or you may just want to explore all the cool things today’s cameras offer.

Experiment with the white balance settings outside. White balance on your camera will alter the color temperature and appearance you get in your picture. For instance, a CLOUDY setting will give your pictures a warmer cast. The FLUORESCENT setting will make your photographs cooler, skewing to a purple cast.

When traveling abroad, check the power setting and type of plugs. Most modern chargers do both 110 volts (USA) and 220 volts (most of the rest of the world). Check yours, and then pick the right adapter for the plug. Be careful to not use a 110-volt power strip in higher-voltage countries.

Turn on the lights when shooting inside the house. Lamps and overhead lights will brighten any picture indoors. The light will add depth to the picture and often warm up the color. Most importantly, it will brighten up the background.

Be creative with your posing. Don't just line everybody up. Use the steps or the arm of a couch to experiment with some people standing and others sitting. Have kids sitting in laps or someone sitting on the floor or kneeling. Mix it up.

Get yourself in the picture. Nothing is worse than a vacation with no shots of the family photographer. Get in the picture by using a tripod (or a steady surface such as a wall or a car hood) and the camera’s self-timer to make sure you're included in the family memories.

Jump for fun. Have your kids line up for a picture. As the photographer, get low, and get ready to shoot. Have the kids all jump in the air at the same time. Capturing them mid jump can bring out their true personalities.

When photographing a lot of people at a party, use your camera’s Smart Portrait System to help you get better pictures. The blink mode lets you know if your subjects blinked, and the smile timer can snap the photo when the camera sees that your subjects are smiling.

Try turning off your flash at night to get what your eye really sees. If it's at all dark or dim, the camera will try to fire the flash. Find the flash off icon (usually a lightning bolt with a line through it) and select it. Make sure to hold steady, or use a tripod, because the shutter speed may be slow.

Use the pet scene mode when photographing cats and dogs. If your camera doesn’t have a pet mode, disable the audible beeps and focus assist lamps while photographing them so the lights and sounds aren’t a distraction.

Go shooting with a friend. Not only will you add another pair of eyes to find interesting subjects, but you’ll also feed off of each other’s ideas and energy. Try to organize regular shoots in the park. Share lenses or tips on making that unforgettable photo.

Use fill flash to add a little sparkle to your subject’s eyes when shooting portraits outdoors, during the day. Even in bright sunlight, fill flash can even out the lighting for a more pleasing photograph.

Compose photos using the “rule of thirds.” Think of the frame as being broken into nine rectangles (like a tic-tac-toe grid over the picture). Place your subject at one of the intersections of the lines for a more visually stimulating photo.

When shooting an image that has a subject looking off to one side, compose your photograph so there is more space where the subject is looking. This will give your photograph more of a natural feeling.

When shooting landscapes at dusk or nighttime, use a tripod and cable release or self-timer so you can slow down the shutter speed to let in more light. This is the technique used when you see pictures of car lights as lines, not pinpoints.

One of the rules of composition says that horizon lines should not be placed in the center of an image, but closer to the top or bottom of the frame. Sometimes rules are meant to be broken. When you’re photographing a subject and its reflection, its perfectly fine to place the horizon in the center of the frame.

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best clarity macro by far!
i inherited this lens from my grandfather ten years ago along with countless other lenses and film camera's since the 60's onwards... out of all the modern macro lenses i used its the the best clarity, all the lenses inside are still crystal clear and the moving parts still work like a dream after 30 years of fairly hard use and treatment
May 14, 2012

Sharpest Nikkor I’ve had
I have had three 300 2.8’s, three or four 300 f4’s, a 105 2.8 micro, this 55 Micro, 24 2.8 and a few other Nikkors. This 55 2.8 has simply remarkable clarity. images taken with this lens are bright and significantly clearer than all my other images. Maybe this is why they have not archived this lens. The model you see there is the very model I had back in the 1980’s.
April 14, 2012

Best lens ever!
I carried this lens + FE2 across four continents and used it for everything from close-up nature shots to astronomy to concert venues. Also shot artwork for insurance purposes, where the macro really shone. Mostly Kodachrome and Tri-X pan. A lightweight, very versatile lens, and the smoothest focus action. Sometimes I did wish for it to be just a little wider angle, but ease of having one lens that did nearly everything was unmatched.
December 2, 2011

Sharpness and micro capability are great.
Good for taking pictures of flowers and all general subjects. PK-13 works well with this lens.Light weight and built to last a lifetime.
November 24, 2011

Excellent lens to keep in your gear bag
I've had this lens as my go-to lens for doing quick and dirty copy work (like copying a mug shot handout from the police department, copying info from a sports program, etc.) in my years as a photojournalist. In addition to doing copy work, it's also good as a normal lens and for those occasional extreme close-ups when I'm trying to be artistic. It's also a very light lens, so it's not such a burden to carry in my camera bag.
June 23, 2011

Sharpest Nikkor ever?
This was the first Nikkor lens I ever bought... what a great choice it turned out to be. I have used it for about 30 years now. I shot Kodak Technical Pan film with it and made huge enlargements with great results. If you don't know, Tech Pan was the finest grain film Kodak ever produced. Today I still use it on my D3 and D3X bodies, and I'm certain of the best image quality possible. I love this lens.
April 16, 2011

A great lens
I got this lens only recently, but it has impressed me. I got it to use on my film body, but I have also used it on DX format digital.
I think this lens will replace my 50mm f/1.4 AI-S lens for general use. Although the fast speed and ability to minimize depth of field is nice, the 50mm f/1.4 is a little weak at the larger apertures (of course). This 55mm f/2.8 seems sharper and I like the ability to focus close. Both lenses have their uses, but in halfway decent light there is no reason not to just use the slower lens.
I have the latest 60mm f/2.8 AF-S micro which I use on my D40. This older design seems comparable in most aspects, perhaps a little softer wide open at infinity, but just as sharp stopped down a little or close up in my experiences thus far, which is to say, extremely sharp.
The newer lens does have autofocus (not very useful if you are shooting in macro ranges, though) and the Nano crystal coating; I am guessing this lens would have more flare/ghosts than the modern version if sunlight was hitting the lens directly, but the front element of this lens is so deeply recessed that it is pretty unlikely. The barrel of this lens seems sufficient as a hood.
The new lens also focuses all the way down to 1:1 on film or the sensor, whereas this lens only focuses down to 1:2 without an extension tube. I rarely need to get closer than 1:2 for my shooting, but it is something to be aware of. I do have a PK-13 extension tube, but haven't used it yet.
The minimum focus distance is 9.86" or 0.25 meters, so like all macro lenses with relatively short focal length, the working distance is fairly short. It's about 4 inches at the maximum 1:2 magnification. It is possible you will block your own light or scare your subject if you are shooting insects etc. with this lens. In those cases you should probably look at a longer macro lens. I don't find it to be a problem for my uses.
One thing to note is that this lens extends a lot as you focus down to 1:2 magnification, unlike the modern lens which does everything internally. It extends to almost four inches from the flange at the maximum magnification, and longer if you are using extension tubes, of course.
Also like the modern lens, this lens does lose light as you focus closer. Sometimes my split image rangefinder blacks out a little, but it is still usable. If you meter externally you will need to find the exposure compensation factors at the various distances.
July 31, 2010

A great little lens...
I've had at least one of these in my bag since 1991. Works great as both a macro lens and a normal lens. It does have the ability to create sunstars if stopped down to f/22 while shooting with the sun in the frame.
My favorite combination with this lens is a Nikon F or a Nikkormat. Small enough to carry around, yet has the capability of locking the mirror up for low-light situations.
July 30, 2010

Bad product
We just had the product for a month. We treated our camera like a baby and we still got a broken lense. We sent it to Nikkon and they won't pay for the repair. Very dissapointed I wish I could take everything back.
August 11, 2011

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+1point

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I use it with my D5000 and it works perfect. Don´t forget you will net to manual focus but it is extremelly simple and accurate. My photos stay perfect. I am very happy to have it.

Aug 1, 2011 by

by

FallingPT

Portugal

Location :

Portugal

Age: 35-44

Favorite Subject: Nature

Nikon Family: 0-1 years

Experience: 3-6 months

Role: Serious passion, hobbyist

+1point

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Yes, you can certainly use it, but just be aware that there will be no autofocus function with this lens as it's an all-manual, old style AIS lens, not an AF or AF-S. For its price range, you should look at getting the AF-S 60mm f/2.8G ED so that you can take advantage of your DSLR's functionality coupled with the lens.

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Nikon offers two types of autofocus digital camera bodies: those with a built-in focus drive motor and those which require a lens to have a motor. Cameras such as the D5000 do not have a focus motor in it so they require the lens to have the focusing motor – an “AF-S” lens. While these bodies can use a lens with no focus motor (an “AF” lens) you would have to manually turn the focus ring to bring the subject in to sharp focus.

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also, you'll probably be without light (exposure) metering as well. afaik it's an AI-S lens and you need at least a d7000 to meter with that one. aaand, you'll only be able to use the M (full manual) mode.

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I get that focus will have to be manual, which is fine with me as I do stop-motion animation and don't want it to autofocus at all, but light metering would be very useful. Does the D5300 do any light metering with this lens? If not, what camera body would I need for this functionality?

While I'm at it, I notice in the specs for this lens that the format is listed as FX, but that it's compatible with FX and DX cameras. What does it mean that the format is FX?

Thanks!

5 months ago

by

Anonymous

2 Answers

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Nikon offers two types of autofocus digital camera bodies: those with a built-in focus drive motor and those which require a lens to have a motor. Cameras such as the D40 do not have a focus motor in it so they require the lens to have the focusing motor – an “AF-S” lens. While these bodies can use a lens with no focus motor (an “AF” lens) you would have to manually turn the focus ring to bring the subject in to sharp focus.

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